Spanish Influence

More Fun In The Philippines

Alamat ng Pinya

The Filipino folktale I chose is the “Alamat ng Pinya”. The story is about a girl whose name is Pina who rarely does something to help her mother, Aling Osang. Aling Osang is the one who always do the house chores for she always think that Pina is still small to help her until Pina has grown and became spoiled. Until one day her mother became sick so Pina does everything her mother said but later on became lazy to do wok again. On another day, Pina cooked food and was to serve it but she lost her serving spoon (Sandok). She asked her mother if she saw it and her mother said "Bakit ba hindi ka na lang magkaroon ng maraming mata ng makita mo ang hinahanap mo! Ito talagang anak ko, walang katiyaga-tiyaga”. One hour has passed and Pina hasn’t returned yet. After a few days, Aling Osang became better and went searching for her daughter but she didn’t find her. One day while Aling Osang was cleaning her backyard, she saw a plant grow; she took cared of it until the plant bear a fruit. Aling Osang noticed that it has a lot of “eyes” and she remembered her daughter Pina.

http://kathangpinoy.blogspot.com/2011/08/alamat-ng-pinya.html

The National Museum Visit

Bataan Death Marcher

Gene Cabrera

Metal and Wood

Undated

National Museum Collection

Meaning of the Work: To show that a lot of Filipinos and Americans died during the Bataan death march. Although there were survivors, 10000 to 11000 died during the march. It also show how painful the marchers suffered and how brutal the Japanese soldiers were. 

Basic Semiotic Plane: Gene Cabrera used metal and wood for his work which is 3d in appearance.

Contribution (“Soul of the Society”): The work contributes to the soul of the society by showing the pain and trials of those whose were at the Bataan Death March. How they struggled to fight for the freedom of the Philippines from the Japanese.

Various Drawings and Studies

Fernando C. Amorsolo

Graphite on Paper

Undated

National Museum Collection

Artist background: Artist background: Fernando Amorsolo was born on May 30, 1892 in Calle Herran in Paco, Manila to Pedro Amorsolo and Bonifacia Cueto.  Although born in the nation’s capital, Amorsolo would spend most of his childhood in the small town setting of Daetin Camarines Norte where his love for the simple rural life would become the foundation for his artistic output for which he is most well-known. Amorsolo drew sketches and sold them for 15 centavos a piece to help his family and to pay for his schooling. Despite the family's financial difficulties, in 1914, he finally earned his degree, with honors, as a member of the first graduating class of the University of the Philippines School of Fine Arts.

Meaning of the Work: To show how Fernando Amorsolo started before he really did paintings.

Basic Semiotic Plane: Fernando Amorsolo used graphite papers, drawing materials like pencil and colored pencils to do his sketches. His used curvy lines in which grace and beauty were presented.

Contribution (“Soul of the Society”): The work contributes to the soul of the society by showing that life has bases. Before somebody establishes something, he/she must first have a strong foundation. He/she must practice and be familiarized in order to build something good.

Hills of Nikko

Jose Joya

Oil on Canvas

1964

National Museum Collection

Artist Background: Jose Joya is a painter and multimedia artist who distinguished himself by creating an authentic Filipino abstract idiom that transcended foreign influences. Most of Joya’s paintings of harmonious colors were inspired by Philippine landscapes, such as green rice paddies and golden fields of harvest. His use of rice paper in collages placed value on transparency, a common characteristic of folk art. The curvilinear forms of his paintings often recall the colorful and multilayered 'kiping' of the Pahiyas festival. His important mandala series was also drawn from Asian aesthetic forms and concepts. 

Basic Semiotic Plane: Jose Joya used oil paint in canvas. He used straight and diagonal lines which represents logical order, discipline, and passion. The color used are pleasing to the eyes, joyful color that represents peace and quiet.

Meaning of the work: It is the artist’s interpretation of one of the existing hills in Nikko, Japan. During wintertime, the hill’s imperfections are thoroughly covered by snow. However, during summertime, those imperfections are expressed by the artist in terms of bold brush strokes and super-imposition of lines.The painting is actually an allegory to human imperfections. The earth colors symbolize the weaknesses and limitations of humanity while the hues of greens and blues represent life and hope. The white background represents the snow that starts to envelop the mound. In the process, the entire imperfection will be covered thus presenting the cycle of life.

Contribution (“Soul of the Society”): The work contributes to the soul of the society by how colourful and peaceful life could be. There may be challenges that people will face but in the end, when faced with determination to finish or solve that problem, life will be joyous.

Rape and Massacre in Ermita

Diosdado M. Lorenzo

Oil on Canvas

1947

National Museum Collection

Meaning of the Work: To show that a lot of Filipinos and Americans died during the Bataan death march. Although there were survivors, 10000 to 11000 died during the march. It also show how painful the marchers suffered and how brutal the Japanese soldiers were. 

Basic Semiotic Plane: Diosdado Lorenzo used oil paint in canvas. He used s diagonal lines which represents passion and energy. The color used are ‘bold’ which makes that work ‘lively’.

Contribution (“Soul of the Society”): The work contributes to the soul of the society by showing the struggling in times of hardships. Many Filipinas were raped those times and many babies experienced being bayoneted.

Sunset in Intramuros

Federico Alcuaz

Oil on Plywood

1979

GSIS Collection

Artists Background: Born in June 6, 1932 in Manila City, Federico was the sixth of eleven children and took his primary and secondary education at public schools. He pursued Associate of Arts degree at San Beda College in the evenings and a Fine Arts degree at the University of the Philippines (UP) in the mornings. Among his professors at UP were National Artist Fernando Amorsolo (painting) and National Artist Guillermo Tolentino (sculpture) as well as other pillars of Philippine art, such as Toribio Herrera, Ireneo Miranda and Constancio Bernardo.

Meaning of the Work: Shows how quiet but mysterious of Intramuroz dues to the darkness of the work.

Basic Semiotic Plane: Federico Alcuaz used oil paint in plywood. He used s diagonal lines which represents passion. The colors used are dark which makes that work sad and quiet.

Contribution (“Soul of the Society”): The work contributes to the soul of the society by showing how significant Intramuros to the Philippine history.

http://www.fernandocamorsolo.com/biography.html

http://en.wikipedia.org/wiki/Bataan_Death_March

http://www.ncca.gov.ph/about-ncca/org-awards/viual-arts/jose_joya.php

http://federicoaguilaralcuaz.com/bio.htm

http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Hills.html

Who is Maui?

              I am a girl who loves a lot of things. Reading, playing badminton, Family Guy, Greek mythology, going to cosplay conventions, taking pictures, love for food like spaghetti, banana-q, sushi, isaw, listening to music composed by Fall Out Boy, John Mayer, Nicki Minaj, Beyonce, Jason Mraz, being vain (^__^) are some of the things that describe me. But what really is known by my family and close friends about me is my love for apples and shoes.

                My love for apples started with the anime Prince of Tennis. There's a character there name Fuji Syusuke. I love that character. Reminded me of  the fruit.  Because of that I  started eating/loving apples (Fuji). Apples for me are very delicious. The sound of biting the fruit and it makes me happy and I don't know why (^__^). Also, apples are very healthy, it has medicinal uses like when I am sick, I always ask for apples to eat and the next day I am feeling better (^__^) ♥

                 I love hanging out with my family especially with my tita Riza. She's the person who influenced/ the reason why I am addicted to shoes. We both love shoes. We both have the same taste for picking shoes. We usually buy our shoes at Primadonna. (^__^) I have a lot of shoes like doll shoes, wedges, platforms, boots, rubber shoes, sandals, snickers. 

Medium: Pictures that I took myself, pictures of myself, and pictures from the internet.

Technique: Photography, picture editors, collage making

Philbrook Museum of Art Erosion No. 2-Mother Earth Laid Bare 1936 by Alexandre Hogue

              American artist Alexandre Hogue is known primarily for his paintings of the Dust Bowl of the 1930s. Hogue was one of the few painters of the period to acknowledge the conditions of the Southern Plains during the Great Depression, and his works are considered both accurate and provocative. His concern with the environment and with humans' relations with it endures as a major theme in his work.

              Born in Memphis, Missouri, on February 22, 1898, Hogue grew up in Denton and Dallas. He worked briefly (1921-25) in New York as a graphic designer and then returned to Texas, where he established himself as an artist, teacher, and writer. His explorations of the landscape along with his interest in Native cultures and their attitudes toward nature formed an artistic credo that emphasized not only the beauty of the land but also the effects upon it of human activities.

              In his travels through the region he witnessed the development of the Dust Bowl, and in 1932 he began his series on the ecological disaster unfolding before him. Dust Bowl (1933, Smithsonian Museum of American Art), Drouth Stricken Area (1934, Dallas Museum of Fine Art), and Drouth Survivors (1936, destroyed in 1948, formerly in the Musée National d'Art Modern, Paris) all show a landscape described by Hogue as a "lush grassland" transformed into a desertlike place scarcely able to sustain life of any kind. Tractors and dead cattle half-buried in sand dunes, an abandoned farm with its broken windmill and dust-filled water trough, and the eerie light of a dust-choked, sandy, and barren ranch–all these images created an apocalyptic iconography that Hogue used to convey the reality of the situation on the Plains as well as his condemnation of the farming and ranching practices that had created it. Unlike the photographers of the Farm Security Administration, who also documented Depression Era conditions, Hogue expressed little sympathy for the families forced off the land by the Dust Bowl (in fact, they do not appear in his work) but instead made it clear that he held humans accountable for their deliberate misuse of the land.

              Perhaps the grimmest and most accusatory painting is Mother Earth Laid Bare (1938, Philbrook Museum of Art Museum, Tulsa), in which overproduction of the land and disregard for the forces of nature are clearly presented as acts of desecration. In contrast to other painters of the period such as Grant Wood and Thomas Hart Benton, who generally treated their region as a place of hope, good values, and productivity, Hogue presents a sobering view of a land exhausted and ruined by the failure to acknowledge and respect nature. Later works from the 1950s on were less condemnatory but continued to express the artist's reverence for nature, even at times in an abstract style. His series of drawings, pastels, and paintings on the Big Bend landscape (c. 1960–c. 1990) especially demonstrate the persistence of this theme.

              In addition to his career as an artist, Hogue was an important teacher in the region, notably as head of the art department at the University of Tulsa (1945–68). During the 1930s he was a leader in one of the most active regional groups, known as the Dallas Nine, and was also a founder (1938) of the Lone Star Printmakers. Hogue died in Tulsa on July 22, 1994.

http://plainshumanities.unl.edu/encyclopedia/doc/egp.art.032